We’ve been aware of SNEAK’s work here for a little while and we’ve been
impressed since the get go. SNEAK is one of those writer’s who must’ve
had the skill since the beginning considering he hasn’t been writing for
too long and his work has been fresh since he came on the scene. His
partner in crime, QUICK, also shares the same vision of graffiti and they
feed off each other to constantly get better and better.

Bizarre Beyond Belief: The first time I
went out (painting)…
SNEAK: Oh man that’s a long time ago!
I didn’t really know what I was doing back
then! I was in high school with my boy
QUICK and we had just decided we
were gonna start writing. We ended up
ditching class, got some paint and went
to a remote spot that was very quiet. We
started doing our thing. I was so stressed
out, just like the first time you have sex!
We thought we could hear noises or
people coming and we were paranoid.
We hurried the fuck out of there! The
next day, we went out to see our shit
and I realized I fucked up and instead of
writing SNEAK, I wrote SNEEK! But
after this first time, I realized that this new
thing was gonna mean a lot to me in the
future and I never stopped writing!
BBB: The most fucked-up thing that I
saw (painting)...
SNEAK: Hmmm… The most fucked up
thing I saw. Well, I was painting near an

old factory and I don’t really know what
the fuck I witnessed but it looked really
sketchy. There was those three hot girls
that look like they didn’t belong there they
had torn clothes, a shit ton of luggage
and the expressions on their faces
scared me. They were followed by two
huge guys that looked like gorillas with
tattoos on their face and were speaking
a language I didn’t understand. I was
thinking like “what the fuck is going on!”
I kept doing my shit and as they entered
the old building they were pushing the
girls around. But what happened there
troubled me afterwards.
BBB: The funniest thing that ever
happened to me (while painting) was…

that he was gonna catch us for vandalism.
He started to creep on us, hiding behind
a little shed just on the hill below where
we were painting. QUICK and I were
looking at him almost laughing at the
irony. He kept coming towards us and we
heard a big “crack” and when we turned
around we saw the chubby policeman
stuck in some wood trash and garbage.
He looked like some cockroach lying on
his back trying to escape. We asked him
“wassup” and he was like “You are under
arrest!” We couldn’t help but laugh.
BBB: The scariest thing I’ve witnessed
(while painting) was…

SNEAK: Oh shit, the scariest thing
that happened is when one of my boy
asked me to do a commission on a wall
SNEAK: That’s a nice story. I was
painting with QUICK on a commission
inside a storage building that his father
wall, just chillin’ doing our thing. Then we owned. I knew his father was a member
of a well-known motorcycle club, but I
saw some police car coming around the
corner. We knew it was no problem cause still wanted to do it for the money. My
friend gave me the keys telling me I
we weren’t breaking the law, at least this
time. But then the police came out of his could go whenever the next week. So I
showed up at a random time at the place
car, he thought we hadn’t seen him and

3

which was in the middle of nowhere in
the countryside. As I walked toward the
building, I heard some dogs barking and I
saw the bicycles parked next to the door
and I immediately knew something was
going on. I opened the door and when I
saw the bricks of cocaine pilled on the
tables I thought: “ what the fuck did I get
myself into!” Then some guy showed up
out of nowhere yelling at me and pointing
with a 12 caliber. I was struggling to find
my words and trying to explain why I was

there. I was scared as shit. When the
guy finally let me talk, he called his son
to make sure I was telling the truth and
then he started laughing at me for being
scared and then he let me do my thing
and offered me a couple of beers.
BBB: The stupidest thing I’ve done
(while painting) was…
SNEAK: It was one night coming back
from a bar with friends, and obviously I

4

was carrying some markers. I was really
drunk and when I’m like that I have a
tendency to do shit just for the thrill of it
and kind of lose my inhibitions and write
everywhere I can. We were walking down
the street and then I saw a nice glass door
of a shop and there were people inside
doing after hours clean up. I decided to
write my name in their face with a drippy
mop. The thing I didn’t know is that a
guy pretending to be the owner was just
outside walking towards his shop and he

grabbed me around the neck. I got out his
grip but he grabbed my wrist and he said:
“cops are on the way”. The next morning
I woke up with a hangover. My friends
told me I managed to get away but lost
my watch in the process. It was sketchy
but what a night!
BBB: The strangest experience I had
(while painting) was...
SNEAK: Every time I paint is always

unique in its own way and I sometimes
really get into what I’m doing. But that
one night, I was already in a strange
mood before going out and everything
around me seemed different, like I was
seeing it from another perspective. It was
a fresh night during spring and I went
out by myself to the train yard. In my
mind, I wanted to do something different
that night. I just started painting without
thinking and with no preparation at all
just letting myself go. As I was painting,

5

I immediately knew
something was going
on. I opened the door
and when I saw the
bricks of cocaine
pilled on the tables...

6

7

it started raining and at first I was upset
but I couldn’t leave a panel travel around
unfinished. The rain got heavier and I
kinda got into a strange vibe. It was like I
was watching myself painting; I couldn’t
feel my body even with the cold and the
rain. It was the weirdest feeling and it
was a unique experience that I couldn’t
reproduce even if I wanted to.
BBB: The last thing I’ll ever do again
(while painting) is...
SNEAK: When I went to Toronto for

the first time, I was going for a graffiti
trip with QUICK and it turned into just
fucking trouble. One night of our trip,
we were out painting and we left the
lights on in the car. That’s where all the
trouble started and I’ll definitely never
do that again. When we came back, at 5
in the morning our clothes stained with
paint, the battery was out and we were
stuck downtown Toronto with nothing.
We asked for help from the first idiot
that showed up. He was pretending to
be a mechanics and I don’t know shit
about cars so I couldn’t do anything but

•••

www.escue.tumblr.com

8

trust him and the smell of alcohol wasn’t
helping. He plugged the boosting cable
and he was yelling shit like “everything’s
under control man” so I tried starting the
car and the whole battery blew up and
the radiator burst into flames. The cunt
realized he plugged it the wrong way, so
we started to fuck with him because we
were upset at what was going on and he
just ran away. Which meant we were in
even worse trouble. We had to wait until
the next morning and go to the car garage
to get the car fixed and that ruined the
rest of our trip.

9

10

11

Pierre-Paul Pariseau got in contact with us recently and after just
one browse through his site, we knew he was unbelievably talented. His
illustrations arenâ&#x20AC;&#x2122;t merely contour drawings or simple cartoons, they
are artistic, almost painterly in nature, and they depict a much larger
picture. They say is picture is worth a thousand words. Well, Pierre-Paul
Pariseauâ&#x20AC;&#x2122;s illustrations are worth a thousand pictures.

Bizarre Beyond Belief: As an
illustrator, how would you say your
approach to a piece differs from a
painter or sculptor?
Pierre-Paul Pariseau : My technique is
different from a painter or a sculptor. For
example, for the creation of a picture for
a magazine article, I start by reading, a
few times, the article and letting it warm
up in my mind for a couple of hours and
then I gather all kinds of cutouts that
are related to the subject. I have lots of
boxes that are full of these cutouts in my
studio. They’re more or less classified

in respective categories. I also look in
magazines and other sources to find
more elements if needed. Looking for
these I keep my mind open in case I
find something interesting that is not
necessarily related to the subject but
can nevertheless be useful. It’s important
to surprise myself and not to arrive
absolutely at the end with the picture
I had in my mind when I started. Many
times (but not always), at the end, the
best pictures are the ones that were
imagined all throughout the process and
not when having in mind a clear idea
at the beginning. After I’ve gathered

13

more or less what I need to start I scan
each cutout and bring into Photoshop.
I add a high contrast of black and
white to them (which takes away their
talents). To achieve the perfect contrast,
I sometimes have to do it in different
parts on the same piece. I Then make
each item transparent. It’s on a similar
shape underneath that I put the colour. I
repeat this for all the scanned elements.
I compose the picture like this, piece
by piece. Of course I often go back to
search for the best cutouts needed to
complete the image and take out those I
don’t think really fit.

The colours can be added also by
placing a handmade layer of water
colour, acrylic paint, colour pencil, etc,
under the black and white layer that is
now transparent. These colours can be
used also independently without a top
layer. Lines done with pencils can also
be added and so on. I use my pen tablet
from time to time. I intend to add more
of these hand-made textures in my work
in the future. Sometimes I displace the
coloured layer so it is not exactly under
the transparent one. Of course there
can be other features I use in Photoshop

depending on the need, but basically this
is how I work. When I think the picture is
done I “let it sleep” a bit and come back
later on (like after a good walk outside for
example) and look at it with a fresh mind.
I can then make a last minute change if
necessary. I wish that my illustration can
question, amuse, create a smile, puzzle
and, of course, stimulate the reader to
read the article.
BBB: Your work contains a lot of
elements and many of them are surreal,
how do you pick and choose what goes

14

into a piece?
P-PP: Elements depends in part if I am
doing a personal piece or a commissioned
one. Personal work is as much important
as professional work. There are different
qualities in both kind of work. The
personal projects are very important
because with them you can let yourself
go completely into the depths of your
imagination and into a loose narrative.
You can be “crazy” as you want and
surprise yourself like you never have
before. My personal work do not always

have a clear meaning, it allows a wide
space for interpretation. I do not like to
be too straightforward; I do not want to
do things that are spelled out. A little

bit of “ambiguity” is always more
interesting. It leaves the door open
and it stimulates curiosity. But when
the time comes to do a commission
I can have the ability to produce
simple, clear and straightforward
images. Being totally free it is more

easy to experiment with different
techniques (no deadline to respect,
you have the time to redo as you
want) and to come out of this with
interesting discoveries that you can
use in commissioned works later, if
relevant.
The constraints (subjects, sizes,
delays, etc.) brought by the
commissioned work can be an
important challenge for the spirit.

15

This experience can bring the artist
into areas of discomfort that could
be, at the end, very freeing and
exhilarating. Again, you discover part
of your imagination that you would
probably wouldn’t have otherwise.
These discoveries can be used in your
personal work later on. Both kinds
of artworks, the personal and the
commissioned, are feeding each other.

16

17

BBB:: On that note because you have
so many elements in a piece, when do
you know a work is finished?

the market in my province, I had to get
jobs elsewhere to be able to earn a
living as an illustrator. Now I get most

P-PP: I feel that questions 1 and 2
combined answers this question.
BBB: What are your primary tools for
creating work?
P-PP: My images are a mix of collage,
acrylic paint, watercolour, pen and digital
transformation in Photoshop.
BBB: What are your thoughts of
traditional versus digital illustration?
P-PP: I simply think that whatever
mediums you use to achieve a good
picture it is always the result that is
important. Even if it is obvious that my
images have been done using a computer
I, most of the time, include textures,
handmade elements (discreet although)
in them. It enriches the composition and
is part of what I want to give to the final
look of the image.
BBB: How do you feel being a Canadian
or more specifically a Quebec artist
affects success in your field?
P-PP: Nowadays artists, illustrators can
work for clients all over the world. I was
lucky at the beginning of my career to
receive an immediate positive response
about my work from art directors here
in Montreal. As time went by I got
more experienced and looked for jobs
in English Canada. I got jobs there
also. I then looked to the U.S.A and
elsewhere. So the fact that there was a
good market around me was very helpful
to start my career. I couldn’t only live from

18

of my jobs from English Canada (mainly
Alberta) and from Europe. A little bit
here and in the U.S.A as well. So, to

Everything that
touches me is
inspiring to me,
artistic or not.

answer your question, I was lucky to be
living in an environment that responded
positively to my art. North America is
such a great place and I’m lucky to live
here.

BBB: As a Quebec artist, how would you
describe the similarities or differences
between the Quebec artistic communities
versus the rest of the country?
P-PP: This is a question I cannot really
answer as I am not that knowledgeable of
what is going on in the other provinces. I
have travelled in Canada but not enough
to know deeply about this subject. For
what I know art is alive and well in every
big cities in this country. There must be
similarities and differences everywhere.
Of course here it’s more obvious because
of the culture/language (French) that
is different. There is a large and very

talented community of illustrators in
Canada.
BBB: Do you believe there’s a different
reception or mentality in Quebec
towards the arts?
P-PP: This is a good question but as I
am not informed enough to answer the
previous question, I cannot answer this
one also. I would be better if answering
question directly linked to my artwork.
BBB: What inspirations contribute to
your work outside of artistic ones?
P-PP: Everything that touches me is
inspiring to me, artistic or not.
What three things non-art related could
you not live without?
P-PP: Of course, apart essential things
like breathing, eating, drinking, I would
say reading, travelling and loving.
BBB: What’s the next step in PierrePaul Pariseau’s career, anything readers
should be on the lookout for?
P-PP: I am having a solo exhibition here
in Montreal right now. It is happening in
one of the many “Cultural houses of the
city of Montreal”. I’m planning to go along
this path with more exhibitions in the
future, here and abroad and of course,
pursue my career as an illustrator.

•••

www. pierrepaulpariseau.com

19

20

21

Through the power of the internet, we’ve known about BOGUS for quite
some time now and we’ve definitely always loved his style. His colour
schemes, techniques and letter structures are always on point. We’ve
known we’ve wanted to get him in an issue since the beginning and we
were lucky enough to have him get down. You’ll love his style and he’s
definitely got a lot of interesting stuff to say.

Bizarre Beyond Belief: The first time I
went out (painting)…
BOGUS: A couple of buddies saw me
doodling cartoons in class and invited me
out to go bombing with them one night.
They gave me a crash course, tossed me
a can of primer grey and said “get at er”.
I had no idea what i was doing, scribbling
lame tags on every grey mailbox I could
come across.
BBB: The most fucked-up thing I saw
(painting) was…
BOGUS: One time I was out with a

buddy and I painted some broke down
cube truck that was nothing special. A
few weeks later I’m watching the news
and I see police taking pictures of the
same truck. At first I was stoked to see
my shit on TV but then the reporter went
on to say a dead body was found inside.
Apparently some homeless guy had been
sleeping in there and died a few months
before. It finally dawned on me that I had
bombed a truck with a rotting corpse
inside.
BBB: The funniest thing that ever
happened to me (while painting) was…

23

BOGUS: My pal SIRE and I were
painting under a highway bridge out
in this wooded area. Halfway through
doing our pieces he looks over and spots
this young couple having a picnic in a
field off in the distance. They couldn’t
see us though so we kept on painting.
Little while later we look back to see
if they were still there, sure enough
they’re fucking. We busted out laughing.
Soon after they got dressed and started
heading our way to get back up to the
highway. They walked right by us realizing
we were there the whole time. The
chick looked super embarrassed. SIRE
asked the guy “You two have fun?” The

24

25

BBB: The scariest thing I’ve witnessed
(while painting) was…

doing hollows. Every time we moved this
thing felt like it was going to give way.

BOGUS: I don’t know. One night I
was up on a roof with JAROE and we
hopped over the edge on to this shaky 2
foot wide metal ledge. We shuffled across
the length of the building taking turns

BBB: The stupidest thing I’ve done
(while painting) was…
BOGUS: I sketched out something I
was really stoked on then almost broke

26

Next thing I know, I’m
lying down waking up
to an old lady putting a
warm blanket over me.

my neck getting to the spot and all I had
in my bag was shit paint. If you’re gonna
invest the time and effort, you might as
well do it right and spend a few more
bucks on some good stuff.
BBB: The strangest experience I had
(while painting) was...
BOGUS: After a long solo night of
painting and drinking I had a couple hours

to kill before morning busses started
running again. So, I decided to chill at a
bus bench and shut my eyes for a couple
minutes. Next thing I know I’m lying
down waking up to an old lady putting a
warm blanket over me. I guess she was
driving around in her mini-van helping out
homeless on the street. I felt like a piece
of shit but at least I was warm! I still have
the blanket in my closet.

•••

BBB: The last thing I’ll ever do again
(while painting) is...
BOGUS: Clean up. Whenever I’m
painting a chill day spot I’ll usually take
whatever I came in with. I’ve found that
the neighbours for the most part enjoy
the artwork but just get peeved about all
the empties kids leave behind. It’s good to
be respectful but at the same time I am
there to vandalize… YOLO.

www. flickr.com/photos/35188424@N02/

27

28

29

Michael Cariniâ&#x20AC;&#x2122;s work is insanely colourful, expressive and stimulating.
His work conveys an unbelievable passion and intensity that undoubtedly
reflects his personality. Throughout numerous chats and reading through
this interview, weâ&#x20AC;&#x2122;ve seen how driven and charismatic this man is, which is
a personality trait that every artist needs if they want to succeed in this
very difficult career option.

art has made here in a short period is
incredible and I’m happy to see where it
goes next. The art scene in San Diego
is very different from Los Angeles, but
both have a tremendous amount to offer.
I don’t see the discrepancies between
them as good or bad, they simply are
what they are. With a positive attitude,
what an artist can achieve from either,
from both, is boundless.
BBB: There’s always a lot of mixed feelings
in regards to art institutions as being an
integral role in an artists training, do you feel
your experience was important? On that
note, you were studying under acclaimed
artists Jane Brucker and Roland Reiss,
how do you feel about apprenticing under
them? Was it more or less imperative than
school itself?

Bizarre Beyond Belief: After receiving
formal training in Los Angeles, is there
any particular reason you returned
to San Diego instead of pursuing a
career in LA? Are there any major
discrepancies between the artistic
communities of these two respective
cities?
Michael Carini: I have always been very
interested in pursuing a career in the
Los Angeles art scene. When I visited
galleries there, I always heard that there
was a two, three and sometimes even
a four year wait before my work could

even get looked at. I did what I could
to plant those seeds and while they
were developing, I saw a great deal
of opportunity to be taken advantage
of within the smaller art scene of San
Diego. Here in San Diego, I believe
that an artist can not only be a part of
the scene, but become a major factor
with the appropriate effort. San Diego
is very a much a relaxed, family oriented
environment and I would describe the
art scene as the same. In just six years, I
am extremely happy with the impact I’ve
made here as I continue to help the art
scene grow and flourish. The progress

31

MC: For me, personally, Loyola
Marymount University played a
tremendous role in my development.
It provided me with the resources and
environment that I needed to grow. It
was here, at Loyola, that I also met my
mentor, Jane Brucker. Through Jane,
I was also introduced to her mentor,
Roland Reiss, who used to run the art
department at Claremont Graduate
University. I had a chance to apprentice
under him at the Brewery Complex in
Downtown Los Angeles my senior year.
I have to say that apprenticing under
such incredible artists was a priceless
experience. Without Loyola, Jane, or
Roland, I would not be where I am today.
My suggestions for anyone chasing their
dreams is to assess your goals and follow

BBB: How would you describe your
creative process in preparation to
painting? How is it mapped out in
your head, do you have a blueprint or
sketch?
MC: I spend a great deal of time in
the preparatory process before my
paintbrush goes anywhere near the
canvas. All day long, everyday, I am
filtering through ideas I might translate
through the extension of my brush. I like
to think of it as an alchemical process
based upon the principles of equivalent
exchange. My general process is to
collect as much as possible until that

cluster of energy catalyzes a physical,
mental and psychological explosion
resulting in a tangible creation. I do not
sketch on my under-paintings, ever. Once
my brush is saturated with pigment, I am
guided purely by the flow of intuition.
Though there is always an initial concept
and picture in my head, it is merely a
structural starting point from which to
build and adjust as the development
takes shape. The act itself is very natural
and rhythmic, much like a dance. The
canvas is my partner and we each take
turns as one leads and the other follows.
BBB: Your work itself is a stunning

visual overload and as we know, many
artists have a tremendously difficult
time decided when a piece is done.
When and how do you tell yourself
“It’s time to put the brush down. It’s
completed”?
MC: That part always been surprisingly
effortless for me. Just as I likened the
act of painting to a relationship much
like a dance, there comes a point when
the music just begins to slow, slow, slow,
and then stops. It’s very much instinctual
and intuitive. I’m never really concerned
whether my painting is “right” or “wrong”
because it is my experience, and it
can’t be right or wrong; it simply is. I
believe the greatest beauty often lies
in the humanity, or imperfections, of a
creation. This concept can be traced
back to the Asian aesthetic in Japanese
Zen Buddhism of Wabi, Sabi and
Shibui (the beautiful accident). For this
reason I just let it flow naturally and if
it is imperfect, that is how it was meant
to be. If it exemplifies where I was at
the time I created it, I am content. Pure
work, honest work, will be appreciated by
someone that appreciates sincerity and
what may be your least favourite will be
another person’s absolute favourite.
BBB: There is a significant evolution
in your work even over only a matter of
years, can you describe how you got to
your aesthetic in “Boy in the Box” from
“Lost Shepherd”?
MC: My work is one big epic saga of
my life and each series represents a

32

specific chapter. Each body of work
represents where I was at certain stage of
my life and even though the progression
is somewhat dramatic, I believe that,

if looked at collectively, it is very fluid
and organic. â&#x20AC;&#x153;The Lost Shepherdâ&#x20AC;? is
my first major body of work, spanning
from 2004-2006, and is a reflection

33

upon the idea of the shepherd losing
its way, trapped in a void of space that
is seemingly boundless. The specific
imagery is not really about the dog,

34

but rather the iconic characteristics of
what it symbolizes. I then transitioned
to my series “Look Right Through Me”
from 2007-2008. This series presents
a saturated reverberation of colors
through the implementation of vibrating
“chords” and “dischords,” while at the
same time was concealing a transparent
figure in what I refer to as a beautiful
prison. From 2009-2011, I continued to
progress further into the abstract realm
with “The Up-Side of Down,” which is
an illumination of the human condition
through the exploration of conflicted
harmony. As I transitioned to my most
recent series, “The Boy In The Box,” my
goal was to abandon the rigid structure
and harshness of past work and ultimately
learn to paint like a child again. The
series title is a reflection of my previous
bodies of work and signifies my attempt
to “break out of the box” as I created
this work from a small and unfamiliar
box-like space during an artist residency
I participated in at Alexander Salazar
Fine Art in Downtown San Diego from
April-May, 2012.
BBB: Because your works are
generally on a medium to large scale, do
you feel as if the paintings would have
the same impact on the viewer if they
were on a smaller scale?
MC: I don’t exclusively work large or
small, but rather select the size most
conducive to the work I’m creating. Size,
unquestionably, does matter. With my
first and second bodies of work, I created
very intimate pieces in order to draw

35

36

37

people in. Some of those pieces are as
small as 2” x 2” and had to be completed
with a single haired round brush. With
more physical works, such as those from

“The Boy In The Box,” it is necessary to
work on a scale that allows a full range of
motion for my strokes. My largest piece
from this series, Astranomelly, is 78” x

38

120.” I put a significant emphasis on scale
in order to achieve maximum impact and
best convey my concepts. On a similar
note, I apply the same rigorous scrutiny

to the sizes of my pieces and to my
application of like sizes and polyptychs.
BBB: If it a natural disaster was about
to occur in your city and your city was
about to turn to rubble, what three
(non-art related) materials would you
grab?
MC: You mean there’s something else?
I honestly don’t know if I have anything
else. Three items…My two cats and, I
guess, my girlfriend or TV.
BBB: We’ve read on your site “Carini
rhythmically dances and makes music

Each body of work
represents where
I was at certain
stage of my life...
on the canvas”. Does music play a large
factor in your work? If so, can you give
us a top 5 song playlist of what would be
playing in your studio while working?
MC: Viewing my paintings as

relationships much like a dance, music
is as much a part of the medium as the
paint itself. Because each relationship
is different, I don’t have an exclusive
playlist, but rather a broad repertoire
from which to choose for any given piece,
and am always eager to discover more. I
do naturally gravitate towards albums that
convey a story, most recently listening
to Kid Cudi’s “Man on the Moon”
and also Kanye West’s “My Beautiful
Dark Twisted Fantasy.” In creating the
culminating piece for my residency,
Astranomelly (because the piece was
inspired by San Diego musician Astra
Kelly), I spent a great deal of time
listening to the track “Battling the Sun.”
When I created my time lapse for this
massive painting, I made sure to apply
that track to the video because it was
such an integral part of the experience.
BBB: Where does Michael Carini,
not only as an artist, but as an individual
(both physically and mentally) see
himself over the upcoming years?

MC: As every relationship naturally
unfolds, so too will my development.
That being said, I have multiple bodies
of work I am preparing to begin. The
first is a 49 canvas polyptych (which
will be able to be viewed either
collectively or as singular elements)
called “Reignbough” and it is directly
correlated to where I am mentally
and some of my recent personal
experiences. The body of work itself
will be titled “Reign Upon Sonrise.”
A second body of work that I will
commence at the same time and work

39

on simultaneously will be a series of
painted doors that will also serve as
functional art. This body of work,
which I hope to debut with the first
as one large, grand exhibition, will
be titled “Revel-at-I-on Exodus.” I

have transitioned from photorealism
all the way to abstract and now I’m
formulating my own language through
abstracted titles and creating doors
for you to walk through. I, probably
as much or perhaps even more than

•••

www. michaelcarini.com

40

you, am excited and curious to see
what’s next. I firmly believe that as my
repertoire continues to broaden, the
gaps will be filled and everything will
cycle back into itself like the iconic
and mythical ouroboros.

41

42

43

We’ve been familiar with STUE76’s work for a few years now as one of our
closest amigos, MEOR, has been friends with him for a number of years and
has passed us on a number of photos. His work is funky and he constantly
switches it up every time he rocks and that’s something to be extremely
respected as many artists stick to what they know. We’re pleased to have
him in this issue and he seems like one hell of a guy.

Bizarre Beyond Belief: The first time I
went out (painting)…
STUE76: The first time I went painting
was in 1986 East Berlin putting up my
nickname with a crayon. The name was
“Graff the (German word for Count)”.
The school authorities stopped me and
they were not amused. They made a
decision to clean up all the spots and I go
and write my nickname on wall? That was
the way I rolled at school. Later after the

(Berlin) Wall fell I came back.
BBB: The most fucked-up thing I saw
(painting) ...
STUE76: When I was young, the must
fucked up thing was my first train. The
first steps in I was standing in front of a
parking train in yard. I was checkin out
what was happening around me and
watched some other guys who wanted
to paint a car. No problem. I was young,

45

hungry and I wanted to hit my first (train).
So, I started painting and filling in outlines
but things were going wrong really fast.
We got chased. We had to run over the
tracks with a Ladder (makes a weird
sound like: Tshing Tshing). We went back
to finish this “great” car and we all stand
in front of the train and paint again. Later,
a guy came to us and we were all feeling
really fucked up again because this was
the same guy as the first chase. One of
the other guy’s I was with shot him in the

face with a gas gun. The other ones ran to
the towers and the rest is history.
BBB: The funniest thing that ever

happened to me (while painting)...
STUE76: The Funniest thing I saw
painting was during every painting session

46

with my good friends. Weâ&#x20AC;&#x2122;re always
doing mad stupid shit. But thatâ&#x20AC;&#x2122;s pure
fun. Daytime street bombing, daytime
line pieces and and much more. Those

were the good ol’ days. Also painting with
MEOR. He’s mad funniest guy I’ve ever
met.
BBB: The stupidest thing I’ve done
(while painting)...
STUE76: Well it was years ago now. I
guess in about 1992 when I used to take
a lot pictures of other writers at every

spot, line-pieces, bombs, whatever.
One day we decided to take a great
shot of a great mural that was under
a bridge that was on both sides. We
would have to cross 2 tracks and there
was a tunnel near us. On the left side
you can see everything but not the
tunnel side. So we decide to cross
the tracks to take pictures and my
friend goes over and there’s no train

47

I didn’t see the
train coming from
the right out of
the tunnel. I stood
frozen because I
was shocked and
scared to death.

48

49

train passed I crossed the tracks, but
I didn’t see the train coming from the
right out of the tunnel. I stood frozen
because I was shocked and scared to
death. My friend started screaming at
me and I threw my camera. I jumped
out of the way and I felt the powerful
“Swoooooooooooosh” of the train and
after that, I only do stuff extremely
carefully.
BBB: The strangest experience I had
(while painting) was...

STUE76: Hmmmmm, refer back to the
scariest part. I can’t really remember any
others. But a writer’s life is sometimes
really strange and the paranoia follows
you around.
BBB: The last thing I’ll ever do again
(while painting) is...
STUE76: I never want to fall on the
third rail again. One day when it was was
raining, I went to hit a fresh spot on the
line. I started painting and I heard some

•••

50

cracks. I went and checked it out and it
was the cops. They saw me and I ran. But
the fucked up thing was, everything was
soaking wet. I ran slid with my feet and
fell down. I tried to keep away from the
third rail but my feet were under the third
rail. I didn’t move because I didn’t want to
get fried by the electricity. I then calmly
slid my feet out.
By the way I’d like to shout out: Disco,
Meor, Dask, Most, Queen, Tilda, Pekor,
Benito, Akira77, Time and many more.
Peace out!

51

52

53

We can say without any hesitation that Todd Mazer is easily one of our
favourite human beings on the face of the planet. After many talks with
him we can assure you he is a stand up guy with an amazing spirit. On top
of that, he is a brilliant photographer that captures the essence of the
subject in front of the lens. It was nearly impossible to be selective of
which images to put in his feature because every single one blew our minds.

Bizarre Beyond Belief: As someone
who is constantly documenting and
being involved with the underground
and neglected areas, do you believe the
urban environment plays a large roll in
your photography?

BBB: When attaining some of your
documentation of street culture, have
you encountered any severe dangers
while shooting? How does that affect
your working with these individuals and
the urban environment?

Todd Mazer: Oh for sure, I think
my favourite artists approach the
environment the way an emcee
approaches a beat. As a photographer
I don’t find it that fulfilling to just add a
“huh” or “what” so I lay back and keep
time and wait for 16 bars to open up.

TM: I’ve been stuck up, I’ve had my car
broken into, I’ve had my gear jacked,
I’ve had to think twice about the last
time, I’ve had a tetanus shot and I’ve
taken a big fall. But to quote someone
quoting Bukowski I was “born into this”.
I came out the gate in a snowstorm after
midnight with my umbilical cord wrapped

55

around my neck twice so I feel like it’s
all overtime so I don’t mind the risk that
comes with spending my borrowed time
getting over.
BBB: How do you know when is that
“perfect shot”?
TM: I think I’m always moving and
then there will be that heavy moment
that completely stops me in my tracks
and that’s when I reflect and take a
photo. Other times I find the moment
in transition and it’s not until I look at
it afterwards that that tiny moment

BBB: Being that a lot of the nature of
the photography can be on the opposite
side of the law, has there been many
close encounters with authority?
TM: Wait, this isn’t a job interview is it?
Nah, I’ve had my adrenalin spiked a few
times and have had to make some quick
calls but as far as what others have been
served I’m grateful that I’m sitting at the
kiddie table in that respect.
BBB: Have there been any missions
or outings in particular that you can
remember to be your favourite? If so,
can you tell us about it?

becomes a big one to me. It’s always
an experiment and never an exercise.
I started off shooting video so I’m
accustom to having to choose the
composition on the fly instead of in

post and I honestly rather lose a shot
in manual then catch it in automatic. In
order to really commit to the moment I
think you have to be fearless about what
can be lost by taking chances.

56

TM: You know a lot of my favourite
moments are the slow burning ones and
some evenings who ends up showing
up can really surprise you. I guess the
moments that remind me or shed light
into the personal choices and stakes that
face each artist tend to stay with me.
A handful of years back I was driving
back from Philly with an artist that had
a lot of heat on his back coming from a
bunch of different directions so much
so that his other half told us to make
sure he behaved himself which seemed
to be a doable task until this one wall
winked at him and he growled out “stop
the car” that one wall turned into a very
unflinching and I imagine therapeutic all
night rampage and after that I was like
okay I get what he gets from this.
BBB: Considering you have
photographed some of the most
notorious and sought after street and

graffiti artists in the world, knowing
them personally how has this affected
the mystery and mysticism that is
usually attributed with these artists?
TM: It can go both ways but I find I
don’t really get fooled much anymore
and drive too far down many dead
ends. So I guess it’s just about tuning
in.
For example if you walk into Kofie’s
studio or into his crib and he’s already
painted the corners of his canvas you
don’t know where his art ends and his
surroundings begin. Once you have

a good conversation with Jaybo you
realize his art is the equivalent of him
thinking and speaking out load but
with a brush. Mac is someone who is
smooth like the lines and flow of his
work.
He’s on that high shutter speed in
slow motion tip. If he chose to be a
musician I think we would have a higher
population.
BBB: Furthermore, as someone who
is recording illegal acts, was it hard to
gain trust from these artists and be
accepted to freely document them?

57

I think actions and time speak matter
of factly. I’m not in a rush to document
people and I’m not trying to build an
almanac on this culture. I don’t see
this as a vehicle for me I see this as a
foundation. I do this because I believe
in the potential of an individual’s mind
to create and communicate in an
honest, self actualized and uplifting
way. As the clock ticks it adds up but
it’s just been done one conversation
at a time. There is something in this
that is very pure and unfiltered. I feel
a responsibility in my approach to
respect and preserve that.

58

59

BBB: Due to the developments in
technologies, with social media such as
Instagram, and Tumblr do you think the
integrity of photography has been lost?
TM: It’s hard to say, I think it’s a very
human experience to feel nostalgia
toward the era you came up in but I try
to be aware it was a long road before
me. The shift from film to digital was
immense and I can’t imagine how the
first oil painter must of felt day seven in
of painting that landscape when some
dude showed up with some machine and
pushed click and then hollered “Done

Son” and took a sip from his flask. For
me, I haven’t really taken advantage of
those programs, it doesn’t mean I won’t,
it’s just not where I’m at and it’s not
what drives me. I do this because of my
love of the process and the experience,
understanding and clarity that comes
from breathing it in.
BBB: On that note, do you believe
these programs, help or hinder success
as a truly passionate and excited
photographer?
TM: I think they can do both. They

60

can offer exposure, momentum, and
validation which can be good or bad
things. Sun can help you grow but it can
also fry and wilt you. Building quickly
can get you far but if you build a house
with cards a change of wind can make
you crumble. If your not careful having an
audience every step of your development
isn’t so far off from being able to “ask
the audience” on a game show. I guess
the problem with that is in that type
of situation most people are probably
going to side with the majority or the
knucklehead with the loudest voice.

BBB: If you were to go out on an
excursion, what would be your top
five songs in your headphones while
shooting?

should grab a telescope to see my view
it’s like astronomy” and “Honestly, my
number one policy is quality never sell my
soul is my philosophy”.
For the sake of connecting constellations I

TM: Well for me it all begins with Bob
Dylan. He’s been a constant since I was
a young buck. I might kick it off with Call
Letter Blues “I walked all night long”, or
Vision’s of Johanna “Ain’t it just like the
night to play tricks when you’re tryin’ to
be so quiet?” or maybe When I paint my
Masterpiece “Someday, everything is
gonna be smooth like a rhapsody when I
paint my masterpiece”.
Next I gotta to slide into some Galt
Macdermot I think his music has that
“Mozart Effect” on me. Ripped Open
by Metal Explosions, And He Will Not
Come Again, Woe is Me, Kofie Cold,
Bathtub, Space and Duffer in F (Version
2) all have it.
Then I gotta flip it with some of that
strictly Headphones Mind the Gap
Boom Bap. O.C’s Times Up or KRSOne’s MC’s Act Like They Don’t Know
does the trick… Edan’s and Dagha’s Rock
‘n’ Roll puts me in that mindset too.
Then after that I need something from
the soil of my surroundings. In Los
Angeles it’s hard to find someone who
more aptly breathed in the landscape of
the city and exhaled so many timeless
joints. The Mental Traveler harnesses
that exact feeling of driving over the
6th Street Bridge in route to a mission
downtown.
After that I’d close it out with Binary
Star’s Reality Check. There are so many
great lines on that track like “Maybe you

61

Well, I’ve already lost
so much I couldn’t
imagine losing ...

could also ride out with Gang Starr’s Above
the Clouds because in my experiences
honing your skills do create miracles.
BBB: For some odd reason a jerk
planted C4 in your studio, you can only
grab 3 things before it explodes, what
would they be?
TM: Wow blowin’ up my spot… well
I guess as long as it doesn’t go pop. 3
things? Well, I’ve already lost so much

I couldn’t imagine losing and I think
in those situations you have to find a
way to transfer their value into lessons,
motivation and new perspectives
otherwise those situations can become
black holes.
With that being said, if it’s about to blow
and I gotta go I’m out the door with Love,
Peace and Charnice.
BBB: The future has a lot in store for
us all, where does Todd Mazer see

•••

62

himself in 2015, 2030, 2050?
TM: It’s an ongoing process. I think I’m
just trying to find the balance between
when to put my head up and imagine and
when to put my head down and make
things a reality. I don’t think I’ve ever had
an outward plan I think I just keep going
further inward and trusting my instincts,
inspiration and integrity are my most
trusted guides through this endeavour.

63

64

65

We received an e-mail from a reader a couple months ago that was telling
us that there were a lot of great graffiti artists in Greece and that we
should take a look at this writer BIZ. Attached in the e-mail was a bunch
of flicks of BIZ’s work. We were immediately blown away and requested an
interview. BIZ’s work is super innovative, bright and powerful. We’re sure
that you will agree with us and that BIZ will become a new favourite.

67

Bizarre Beyond Belief: The first time I
went out (painting)…
BIZ: I was a child with just 2 or 3 cans.
I had only fat caps and I was trying to
understand how the hell spray cans work.
I don’t remember very clear the painting
itself because it was a long time ago. But
for sure I did a shitty piece and it was
very stressful, and I was full of adrenalin.
After this I fell in love with graffiti!
BBB: The most fucked-up thing I saw

(painting) was…
BIZ: One of my pieces crossed out
by some kids. I left it in the evening not
finished and was going to finish it the next
day but in the morning it was already
crossed! Really shitty!
BBB: The funniest thing that ever
happened to me (while painting) was…
BIZ: In a big party just about a year and
a half ago. After almost three bottles of

68

different sorts of drinks, I took a spray can
and I went to do a throw up. The next day
when I saw it I realized that I did a bunch
of lines, symbols and some other things
on the wall that I couldn’t understand!

you must react
immediately and in
most cases you have
to run!

69

70

After that my friends had to tell me about
what happened that night because I was
way too drunk to remember it. We all had
a good laugh that’s for sure.

this part of the tunnel had a very steep
bend! We realized the danger of what
happened the next day when we were
discussing the night’s events.

BBB: The scariest thing I’ve witnessed
(while painting) was…

BBB: The stupidest thing I’ve done
(while painting) was…

BIZ: I really don’t know! I can’t think of
something really scary that happened to
me! Well, maybe there’s this one time
that I was with a friend and we were going
to check out a spot to go painting and we
crossed the electric train lines and just a
few seconds before the train passed. We
didn’t see the train was coming because

BIZ: Once in Germany I was painting a
train alone and I bought some very cheap
spray cans. Of course the final result was
not the best ever. Actually, I can say this
was my worst train ever! So quality is
better than quantity in some occasions!
BBB: The strangest experience I had

71

(while painting) was...
As always facing police or security. It’s a
very strange and difficult situation when
you’re painting and suddenly you hear
noises and you have to understand very
fast what’s happening. After that you
must react immediately and in most
cases you have to run!
BBB: The last thing I’ll ever do again
(while painting) is...
To not limit myself and to let my mind
think outside the box!